I can't tell very well what's important anymore, the one thing I knew being removed. So I'll fall on some technical notes for the moment: looking at "Sound in, Sound out" as a category in which to stick things I can see my recent 8085 programs as falling in the periphery, and more importantly pointing to the middle. Paul Berg's PILE seems so too, even if he didn't act on any apprehension of the possible fact (the RNG he wrote so many routines based around is "Noise in" after all.). With "Noise in" as the in of "Sound in, Sound out" I've mostly been looking for nice separations and mixtures: distilling essences in an ideal space at odds with the basis handed in. to this end:

2nd: was thinking of how uniform distributions add to make triangular ones and then on to normal curves. and that it'd be useful to have a more concrete, perhaps geometric understanding, first thought in the 99cent store's exit queue, close to the front, with someone's xeroxed handout on Xenakis' probability distributions I found in a french copy of Musiques Formelles in my pocket, 2nd thought last night, and followed by a few drawings of rotating direct and retrograde copies of integer lists against one another. not sure yet what sense the drawings make, but the basics are reproduced above.

2ndy2nd: Then, this morning looking at ways irregularites are separated, mixed and compounded in the casting of the I Ching, I noticed the rotation of direct modulo sequences against one another to manipulate distrtibutions. (that's how we see first the 1:4 distribution, and then 1:1 -- a little rotation). [I wonder now if I could describe these things as convolutions as they look so similar to that other shifting and combining of direct and retrograde sequences.]

So. having made this little mess, I'm not any happier, but I have something to think about on the BART ride I'm treating myself to the instant after this post goes up